Stanley Tucci's not the only one with a popular Italian cooking show, it would seem. From a report: A mafia fugitive has been arrested in the Dominican Republic after inadvertently tipping off police with his culinary hobby. After seven years on the run, Marc Feren Claude Biart was tracked down through a YouTube cooking channel he started with his wife, Italian police said in a statement. The alleged gangster's "love for Italian cuisine" -- and tattoo ink -- made his arrest possible, police said. Though he carefully hid his face, Biart failed to disguise his distinctive body tattoos, they added.

Police said they believe Biart is a member of the notorious 'Ndrangheta crime syndicate -- one of the most feared and powerful in Europe -- from the Calabria region at the toe of southern Italy's boot-shaped peninsula. He had been wanted for allegedly trafficking cocaine from the Netherlands since 2014, police said. Biart, 53, had been living in the Dominican Republic for the past five years and police said he had been keeping a low profile during his stay in the Caribbean -- besides the cooking videos posted to the internet. He was known to locals as simply "Marc" and kept his distance from the Italian community in the popular tourist destination. Lt. Col. Massimiliano Galasso, a Reggio-Calabria police official, told NBC News that authorities had never stopped searching for Biart and had recently turned to open source intelligence.

Spotify said Tuesday it has acquired the company behind the live audio app Locker Room, giving the music and podcast platform a new foothold in a space that has seen a surge of interest following the rise of the app Clubhouse. From a report: The company, Betty Labs, launched Locker Room in October as a sports-focused platform for live audio conversations. Spotify said it plans to "evolve and expand" the app "into an enhanced live audio experience for a wider range of creators and fans." Locker Room will soon expand and rebrand to become more like Clubhouse or Twitter Spaces: a forum for live conversations about music, culture and all manner of topics. "Creators and fans have been asking for live formats on Spotify, and we're excited that soon, we'll make them available to hundreds of millions of listeners and millions of creators on our platform," Spotify's chief research and development officer Gustav Soderstrom said in a statement. The acquisition comes amid a surge of interest in live audio following the meteoric rise of Clubhouse, an app that has drawn more than 10 million users in under a year, amassed a $1 billion-plus valuation and inspired Facebook, Twitter and others to develop their own Clubhouse competitors.

The Los Angeles Times reports: This weekend's international rollout of Warner Bros.' "Godzilla vs. Kong" set a new pandemic record for a Hollywood film, a hopeful sign of an imminent return to moviegoing.

The film, which opens in North American theaters and on HBO Max on Wednesday, debuted in 38 overseas markets to an impressive $121.8 million, including $70.3 million in Chinese receipts. That's the biggest debut for a Hollywood film in China since 2019. The monster smackdown also grossed $12.4 million on 891 IMAX screens, also Hollywood's biggest IMAX weekend since December 2019.

The "Godzilla vs. Kong" debut outperformed the entire to-date international gross of the studio's December blockbuster release of "Wonder Woman 1984," which currently stands at $120 million overseas (and an additional $45.9 million domestic), according to estimates from measurement firm Comscore. The previous benchmark for a pandemic-era overseas opening was the $53-million launch of the studio's "Tenet" in August 2020.

While American theaters are slowly reopening en masse after a roller-coaster year of reopenings and closings, movie houses including Regal and smaller chains (such as L.A.'s ArcLight) have not yet returned. Despite theaters operating at limited capacity, Universal's R-rated action flick "Nobody" debuted this weekend across 2,460 North American screens to $6.7 million. L.A. and New York City, both recently reopened, were the two highest-grossing markets.
Long-time Slashdot reader destinyland calls this "Good news for Godzilla fans. But bad news if you think all those movie-goers should still be staying home social distancing!"

"Fans of science fiction learned last week that the word 'robot' was first used in 1920 — a full three years earlier than originally thought," according to a blog post at Archive.org. They call it "a major SciFi discovery hiding in plain sight": The "massively important yet obvious" change in date was confirmed with a search of the Internet Archive, which has a digitized first edition of the Czech play, R.U.R. Rossum's Universal Robots, published in 1920. There on the title page, hiding in plain sight in an English-language subtitle to the work, is the earliest known use of the word "robot."

This important piece of information is one of many little-known facts captured in the Historical Dictionary of Science Fiction. The project was completed this year by historian Jesse Sheidlower, who credits two things that enabled him to publish this project, decades in the making. "One, we had a pandemic so I had a lot of enforced time at home that I could spend on it," explained Sheidlower. "The second was the existence of the Internet Archive. Because it turns out the Internet Archive has the Pulp Magazine collection that holds almost all the science fiction pulps from this core period...."

The comprehensive online dictionary includes not only definitions, but also how nearly 1,800 sci-fi terms were first used, and their context over time...

The project began nearly twenty years ago at Oxford English Dictionary as the Science Fiction Citations Project.

"The platforms have driven the price of content to zero," says William Deresiewicz, author of The Death of the Artist. "This demonetized content is still generating a fortune. But the artists aren't getting that money."

"Artists today are beset on all sides by monopolists and oligopolists," argues a 7,000 word analysis in The American Prospect. "Like so many sectors of our economy, government inaction has allowed the music business to consolidate, with devastating effects on musicians. Radio is to a shocking degree in the hands of one company, Liberty Media. Two companies, Live Nation and Anschutz Entertainment Group (AEG), control a large number of venues and artist management services, with Live Nation dominating ticketing. The major labels have been whittled down to three. Record stores, alt-weeklies, and other elements that nurtured local music scenes are largely gone.

Dwarfing all that in significance is streaming, which has become the industry's primary revenue source, despite giving a pittance to the vast majority of artists. For the main streaming companies — YouTube and Spotify — music is really a loss leader, incidental to data collection, the advertising that can be sold off that data, and the promise of audience growth to investors... This radical upending of the industry's business model has benefited a few stars, while the middle-income artist, like so much of the middle class in America, struggles to survive...

Chris Castle, an entertainment attorney who used to work at A&M Records, could see it coming when he caught wind of an advertisement for a rebooted version of Napster that operated as a primitive streaming service. The tagline was: Own Nothing, Have Everything. Castle recalled: "I thought right there, that's the end." David Lowery, lead singer of Camper van Beethoven and later Cracker, who now lectures at the University of Georgia in addition to making music, described the internet as reassembling all the gatekeepers that kept artists away from fair compensation. "We celebrated disintermediation, and went through a process of re-intermediation," he said.
The article points out that in 2018 YouTube already accounted for 47% of all on-demand playtime globally, according to figures from a nonprofit trade group — while RIAA figures show that streaming now accounts for 83 percent of all recorded income in the U.S, while digital music downloads now earn even less than vinyl records. It remains to be seen whether movement building from all stakeholders, from musicians to fans, will be able to force platform monopolies to give creators just compensation. But the winds are shifting in Washington around Big Tech, and a united front of artists could prove key to raising public sympathies against exploitation and toward basic fairness.

Artists would rather think of themselves as outside the system. "The wonderful thing about the DIY vision is also its weakness," noted Astra Taylor, a writer, filmmaker, and activist whose husband, Jeff Mangum, fronts the lo-fi rock band Neutral Milk Hotel. (Astra has occasionally played with the group.) But the system has come for them, and toppled the structures that allowed them to create. Everyone loves music, and most of us now have the capacity to listen to anything, anywhere, at any time. We can't hear through the noise that the people who brought us this musical bounty are in trouble.
In the article Marc Ribot, a guitarist who has played with Tom Waits and Elvis Costello, complains that "The same neoliberals in anarchist drag boosting indie labels in the '90s are now boosting Bandcamp. I love Bandcamp. I love the food co-op too. They've been around since the 1930s, they're 3 percent of the market, will never be any bigger... We need to either tear the whole thing down and create real socialism where I get an apartment for my good looks, or a functioning market."

Nieman Lab: In a paper summarizing 30 years of sports coverage on televised news and highlights shows, researchers began by quoting a short segment dedicated to a WNBA game between the L.A. Sparks and the Atlanta Dream. The broadcast was unusual, authors Cheryl Cooky, LaToya D. Council, Maria A. Mears, and Michael A. Messner pointed out, in that women's sports were mentioned at all. They found that 80% of the televised sports news and highlights shows included zero stories on women's sports. The overall portion of sports coverage featuring women had been low for decades and, in 2019, an overwhelming 95% of the sports coverage included in their study focused on men's sports. But, they wrote, the WNBA segment was typical in other ways. The 23-second-long clip was the only mention of women's sports in the six-minute long sports segment -- and it was also the shortest. Other coverage included Major League Baseball games and the men's Wimbledon final, but also segments on a celebrity golf tournament and a competitive hot-dog eating contest. "In short, the WNBA story -- the shortest in duration of the six in the broadcast -- was eclipsed by five longer reports on men's sports, stories ranging from in-season sports (MLB, pro tennis), an out-of-season sport (NBA), to human interest and comedic entertainment only tangentially connected to what most people think of as sports news," the report found.

The study analyzed sports coverage on local network television (the Los Angeles affiliates KCBS, KNBC, and KABC) as well as highlight shows like ESPN's SportsCenter over the 30 years. In 2019 -- after sport media producers and others suggested televised news and highlights shows were not as relevant as they once were -- the researchers started to include online and social media sources, like Twitter accounts for the networks. The proportion of coverage dedicated to women's sports in email newsletters and Twitter was higher than TV news and SportsCenter, but only if the researchers included espnW and its online newsletter. ESPN stopped producing espnW's weekly newsletter, however, and, when researchers removed the data from their sample, the proportions dedicated to women's sports mirrored that found on TV news and highlights shows.

CIStud writes: Sonos notes it first added Qobuz 16-bit FLAC streaming back in 2013, but now the company has expanded its relationship with Qobuz to stream 24-bit/48kHz content. Some of the ways Qobuz supports the audiophile market includes curated content, liner notes and a download store. In addition to the United States, the 24-bit option is also available in Austria, Belgium, Germany, Spain, France, Ireland, Italy, Luxembourg, Netherlands, Switzerland, and the United Kingdom.

According to Deadline, Warner Bros. will return to releasing its theatrical films exclusively in theaters next year, ending the studio's 2021 experiment of releasing major films simultaneously on its HBO Max streaming service and in theaters for the first 30 days they're released. The Verge reports: The news comes as part of an announcement from Warner Bros. of a new deal with Regal cinemas owner Cineworld, the second largest theater chain in the world. After over six months of shutdowns, Regal's theaters will reopen in April, and they'll begin showing Warner Bros. films like Kong vs. Godzilla and Mortal Kombat alongside their HBO Max debuts. When Warner Bros. films come back to theaters in 2022, Regal theaters will once again have full exclusivity (with no HBO Max or paid streaming rental competition). But that exclusivity window will be for a much shorter amount of time: Regal will only have a 45-day theatrical exclusivity window, half of the 90-day standard that existed in years past.

As VGC notes, the preservation group Hidden Palace has obtained 752 PS2 game prototypes and demos from collectors, shuttered developers and defunct media outlets as part of a Project Deluge initiative. Engadget reports: The mix includes prototypes of classics like God of War II, Katamari Damacy, Okami and the Ratchet & Clank series. There are also E3 demos, including big titles like Shadow of the Colossus, as well as very rough alpha previews for titles like Def Jam: Fight for New York and Tony Hawk's Pro Skater 3. It's not a complete look at the PS2's history, but it could easily make you nostalgic. Hidden Palace stressed it checked for differences from retail versions, and that most of these prototypes will run in emulators.

There's no tentative release date. Another batch is coming "real soon," though. If nothing else, this is already useful as a snapshot of gaming culture in the early 2000s. You can see breakthrough games before they were finished, or remember just how many extreme sports games were on store shelves.

An anonymous reader quotes a report from The Guardian: U.S. military pilots and satellites have recorded "a lot more" sightings of unidentified flying objects, or UFOs, than have been made public, Donald Trump's former intelligence director John Ratcliffe said. Asked on Fox News about a forthcoming government report on "unidentified aerial phenomena," Ratcliffe said the report would document previously unknown sightings from "all over the world." "Frankly, there are a lot more sightings than have been made public," he said. "Some of those have been declassified. And when we talk about sightings, we are talking about objects that have been seen by navy or air force pilots, or have been picked up by satellite imagery, that frankly engage in actions that are difficult to explain, movements that are hard to replicate, that we don't have the technology for. Or traveling at speeds that exceed the sound barrier without a sonic boom."

The UFO report must be published by early June, pursuant to a clause in a Covid relief and spending package signed by Trump before he left office. [...] The forthcoming report is to be issued by the defense department and intelligence agencies. When an unidentified aerial phenomena is identified, Ratcliffe said, analysts try to explain it as a potential weather disturbance or other routine spectacle.

"We always look for a plausible application," he said. "Sometimes we wonder whether our adversaries have technologies that are a little but farther down the road than we thought or that we realized. But there are instances where we don't have good explanations. So in short, things that we are observing that are difficult to explain -- and so there's actually quite a few of those, and I think that that info has been gathered and will be put out in a way the American people can see." Asked by Bartiromo where the unidentified phenomena were sighted, Ratcliffe replied, "actually all over the world, there have been sightings all over the world. "Multiple sensors that are picking up these things. They're unexplained phenomenon, and there's actually quite a few more than have been made public."

New submitter dkoneill writes: A soon-to-be-released, crowdfunded book based on the personal archives of Douglas Adams (author of the Hitchhiker's Guide to the Galaxy, episodes of Doctor Who and other beloved science fiction), reveals that he occasionally found writing torturous. In a "General note to myself" the author states, "Writing isn't so bad really when you get through the worry. Forget about the worry, just press on. Don't be embarrassed about the bad bits. Don't strain at them." "Writing can be good...You can get pleasure out of it."

His sister Jane responded to the General note, "I love it, but I just wish he'd read it to himself more often. I think it [writing] was a tortuous process for him, not all the time, but when it was difficult for him it was really difficult." When stuck, the author would even tear down his own work. On another page of notes, he wrote, "Arthur Dent is a burk. He does not interest me. Ford Prefect is a burk. He does not interest me. Zaphod Beeblebrox is a burk. He does not interest me. Marvin is a burk. He does not interest me. The Hitchhiker's Guide to the Galaxy is a burk. It does not interest me."

When the Star Trek franchise was awarded a special Emmy in 2018, it was William "Captain Kirk" Shatner who'd co-delivered its acceptance speech, remembers ComicBook.com. "Thank you so much. 52 years. What a gift. We're grateful... Star Trek has endured because it represents an idea — one that's greater than the sum of our parts... we watch and we reach to see the best version of ourselves..."

And now three years later, they report that Shatner "will celebrate his 90th birthday back on the bridge of the USS Enterprise." Sort of... Shatner will partake in a two-day event at the Star Trek: The Original Series Set Tour site in Ticonderoga, New York. The exhibit is famed among fans for its replica of the bridge set where Shatner gave orders as Captain James T. Kirk in Star Trek: The Original Series.

The two-day event begins on July 23rd (a belated celebration coming a few months after his actual birthday in March), with the COVID-19 mask and social distancing rules still in effect... The limited $1500 all-inclusive packages will let fans participate in Shatner's 90th Birthday Dinner Celebration, take a set tour with Shatner, plus a Bridge Chat, a photo, and an autograph. Regular admission is $80 for a standard tour with a la carte photos and autographs available... The replica set is likely the closest fans will ever come to seeing Shatner return to a Starfleet bridge.
So what is William Shatner doing on Monday, the actual date of his 90th birthday? The New York Daily News reports: He's got a series airing on the History channel, he's heading overseas to shoot an episode of a television show, and is in the middle of promoting his latest feature film, a romantic comedy called "Senior Moment..."

The indie film features Shatner as Victor, a former test pilot who dates younger women and loves burning rubber behind the wheel of his beautiful 1955 Porsche.
The movie also stars Watchmen actress Jean Smart, along with Christopher Lloyd (who memorably played a Klingon in the 1984 movie Star Trek III: The Search for Spock.)

And meanwhile Priceline.com plans a special series of deals this week to honor Shatner's years as their spokesperson (as well as his singing in their earliest dotcom-era commercials, which revived Shatner's spoken-word singing career).

In Captain Kirk's final appearance in 1994's Star Trek: Generations, one of the last things he says is "It was fun." But it looks like in real life, William Shatner is living long and prospering.

Here's that great moment in Slashdot history when Shatner actually answered questions from Slashdot's readers. Have your own favorite William Shatner memory? Share it in the comments to help celebrate his 90th birthday!

The New York Times reports: Along with baking and jigsaw puzzles earlier in the pandemic, model trains are among the passions being rediscovered while people are cooped up indoors. Several companies that make trains are reporting jumps in sales. For many people, the chance to create a separate, better world in the living room — with stunning mountains, tiny chugging locomotives and communities of inch-high people where no one needs a mask — is hard to resist.

"Outside, there is total chaos, but inside, around my little train set, it is quiet, it is picturesque," said Magnus Hellstrom, 48, a high school teacher in Sweden, who has indulged in his hobby while working from home during lockdowns.

"It's a little piece of a perfect world," he said.
The Times visits Märklin, the 162-year-old German maker of model trains, whose engines now include "tiny speakers that reproduce scores of digital chugging noises and whistles (recorded, if possible, from the original), and interior and exterior lights that can be controlled separately... Real steam coming out of the steam locomotives has been a feature for years." The company's owner tells the newspaper "What's really changed during the last 20 years is the focus on truly replicating the original." The trains can be controlled by computer console or by a phone app, with different trains on the same track going different speeds or traveling different circuits. Märklin even added the option of controlling the trains via train engineer simulator software, allowing devotees to control their little model train as though they were sitting in the engineer's chair.

"It is a traditional toy that through digital functions, like sound and light, has become more and more like a real train," said Uwe Müller, who was a product manager at Märklin for 15 years and now runs the Märklineum, the company's museum.
Just 12 years ago the company had declared bankruptcy. But now one 64-year-old employee (who's assembled models trains for the company for over 38 years) tells the Times "We're booming so much it's hard to keep up."

From a report: On Saturday, Zack Snyder himself will head to Twitch to unveil the first look at Justice League: Justice Is Gray... the grayscale version that will soon arrive on HBO Max. The "pre-show" for the event kicks off at 2:30 p.m. Pacific Time on the MANvsGAME channel, with the Snyder and and Justice League star Joe Manganiello joining the broadcast for the big reveal at 4:00 p.m. Pacific. StreamElements designed audience tools to use during the stream, including an engaging donation functionality that will benefit the American Foundation for Suicide Prevention.
The Chicago Tribune argues all you needed to know about Joss Whedon's original 2017 version is encapsulated in the 68-second YouTube video "Sad Affleck." (An SFGate columnist calls the new version "vastly better.") But the Tribune calls Snyder's four-hour director's cut "a 14-year-old's idea of gravitas. Epic, violent, full of naughty words, told with the lyricism of a pharmaceutical ad about bloating. And more importantly, for now, it's complete."

Yahoo Entertainment's Insider has compiled "The 45 biggest differences between 'Zack Snyder's Justice League' and the 2017 theatrical version." But Variety just specifically asked Zack Snyder, "Why is Justice League so violent?" [T]he violence in "Justice League" is bloodier and more violent than audiences are typically accustomed to with superhero movies, which are almost always rated PG-13 — and therefore largely bloodless. Snyder wanted to push the envelope. "It's a pure exercise in creative freedom," the director told Variety this week... Snyder says knowing his film would be streaming on HBO Max freed him from having to make his "Justice League" work for a PG-13 rating.

"Let's just do it the exact way we would if there was no ratings board," he said of his team's thinking. "Let's not use any second guessing. Let's just do it the way we think is the coolest. That was the philosophical approach." Part of the reason that "Justice League" is so violent is to realistically demonstrate what it would be like to actually face off against god-like superheroes.
ComicBook.com reports that Snyder is now also planning "a multi-day SnyderVerse movie marathon later in 2021, where showings of Man of Steel and Batman v Superman: Dawn of Justice will culminate in a theatrical IMAX screening of Zack Snyder's Justice League. The filmmaker is a "huge admirer" of the Justice Is Gray Edition in IMAX, calling it the "ultimate version" of Justice League that is "sort of the penultimate ridiculous movie that shouldn't exist at its highest most fetishistic level."
Snyder tells Esquire his four-hour re-edit was "a labor of love and I would do it again in a second. I wouldn't hesitate. And look, we were doing it for free. I really didn't care. I just wanted to get it, fix it."

Esquire adds that "Even if you decide not to dive into a four hour super hero movie, at least take away a lesson from the making of the Snyder Cut: in a time when so much of us have experienced wrongs and tragedy, sometimes wrongs can be righted, and sometimes your biggest visions find a way to get out into the world."

An otherwise meaningless game during Monday's preliminary stage of the $200,000 Magnus Carlsen Invitational left a pair of grandmasters in stitches while thrusting one of chess's most bizarre and least effective openings into the mainstream. From a report: Norway's Magnus Carlsen and Hikaru Nakamura of the United States had already qualified for the knockout stage of the competition with one game left to play between them. Carlsen, the world's top-ranked player and reigning world champion, started the dead rubber typically enough by moving his king's pawn with the common 1 e4. Nakamura, the five-time US champion and current world No 18, mirrored it with 1 ... e5. And then all hell broke loose. Carlsen inched his king one space forward to the rank where his pawn had started. The self-destructive opening (2 Ke2) is known as the bongcloud for a simple reason: you'd have to be stoned to the gills to think it was a good idea.

The wink-wink move immediately sent Nakamura, who's been a visible champion of the bongcloud in recent years, into an uncontrollable fit of laughter. Naturally, the American played along with 2 ... Ke7, which marked the first double bongcloud ever played in a major tournament and its official entry to chess theory (namely, the Bongcloud Counter-Gambit: Hotbox Variation). "Don't do this!" cried the Hungarian grandmaster Peter Leko from the commentary booth, looking on in disbelief as the friendly rivals quickly settled for a draw by repetition after six moves. "Is this, uh, called bongcloud? Yeah? It was something like of a bongcloud business. This Ke2-Ke7 stuff. Please definitely don't try it at home. Guys, just forget about it." Why is the bongcloud so bad? For one, it manages to break practically all of the principles you're taught about chess openings from day one: it doesn't fight for the center, it leaves the king exposed and it wastes time, all while eliminating the possibility of castling and managing to impede the development of the bishop and queen. Even the worst openings tend to have some redeeming quality. The bongcloud, not so much. What makes it funny (well, not to everyone) is the idea that two of the best players on the planet would use an opening so pure in its defiance of conventional wisdom.